CentralTrakhttp://www.centraltrak.net
The Artist Residency of the University of Texas at DallasSun, 20 Nov 2016 21:47:45 +0000en-UShourly1https://wordpress.org/?v=4.6.1Looking forward to the upcoming TRAC 2015http://www.centraltrak.net/2015/01/31/looking-forward-to-the-upcoming-trac-2015/
http://www.centraltrak.net/2015/01/31/looking-forward-to-the-upcoming-trac-2015/#commentsSat, 31 Jan 2015 19:01:48 +0000http://www.centraltrak.net/?p=3275By Bradley Cruse TRAC has invited nueroaesthetistician Samir Zeki to be a guest at this year’s conference. The Representational Art Conference is making an interesting move inviting a neuroscientist, but will it help the emerging atelier movement’s case? The field of neuroesthetics draws from the art world and analyzes the brain’s response to works. For →]]>

By Bradley Cruse

TRAC has invited nueroaesthetistician Samir Zeki to be a guest at this year’s conference. The Representational Art Conference is making an interesting move inviting a neuroscientist, but will it help the emerging atelier movement’s case? The field of neuroesthetics draws from the art world and analyzes the brain’s response to works. For example, Dr. Vittorio Gallese, professor of human physiology at the University of Parma has performed experiments based on the idea of mirror neurons. In this experiment he had an image of a Lucio Fontana slashed canvas displayed without any background information on the artwork, at which time he recorded the brain activity, then put up a screen to refocus the participants attention, then showed an image of vector lines in the same position as the slashes. What Gallese found was that empathy was shown in the motor cortex when the Fontana image was observed, but when the vector image was observed, there was no empathy felt. This means people feel the stroke and gesture of expressionism. The issue I have with this study is that the responses could be skewed by the tester type. For example, I am much more tech savvy than a typical person and I use programs such as Photoshop and Illustrator more frequently. It takes motor activity to make those lines too, why don’t people feel that? Although the lines may seem more cold and computerized than slashes on a canvas, if the input method to make the vectors was more commonly known, I feel the mirror neurons should respond similarly.

Anyway, my point is that neuroaesthetics will have positive and negative effects on the atelier movement. What it will do in my opinion is further split art into sects and provide more definitive results for art fundamentals. What I’m looking forward to is the idea that realist artists will be able to have their work compared to more illustrative representational art, expressionism, etc... The neural response would be interesting to see if an image, animation or piece of expressionism could evoke the same empathetic response. Even interactive art and performance could enter the conversation with more kinesthetic responses.

The previous example was one scenario of response from gesture, but because neuroscience is primarily funded for medical purposes, artists with mental disorders will become more popular in analysis. For example, an artist like Forrest Bess who ended up leaving the military because of mental issues began painting his visions and dreams would be popular because his output could shine a light on the inner workings of the human mind.

As I see involving neuroaesthetisticians into the atelier conversation as a good thing because the field of neuroaesthetics is such a young field, I would imagine the more popular things to analyze would be derived from the artists with mental abnormalities because there will likely be more funding in this area. In addition to this fact I can foresee classical paintings and sculpture being studied over contemporary works because there is more familiarity among scientists, the works have a proven historical value, even though it could be solely provenance. This scenario could be a positive thing for ateliers, however, because of the price classical works carry compared to contemporary works of similar finish. Either way, the emerging field of neuroaesthetics will provide interesting reads regarding art in the future, and that’s something to look forward to.

]]>http://www.centraltrak.net/2015/01/31/looking-forward-to-the-upcoming-trac-2015/feed/1Buckle up! We’re in for a bumpy ride!http://www.centraltrak.net/2014/12/15/buckle-up-were-in-for-a-bumpy-ride/
http://www.centraltrak.net/2014/12/15/buckle-up-were-in-for-a-bumpy-ride/#respondMon, 15 Dec 2014 15:37:58 +0000http://www.centraltrak.net/?p=3238It is difficult to believe that I have already spent five months here at CentralTrak and I will be graduating within another five. I write this as the roller coaster of 2014 completes its final loop and I prepare for another go around. With our programming on a holiday break, I have been preparing things →]]>

It is difficult to believe that I have already spent five months here at CentralTrak and I will be graduating within another five. I write this as the roller coaster of 2014 completes its final loop and I prepare for another go around. With our programming on a holiday break, I have been preparing things for CentralTrak’s social media Year in Review. In doing so, I have been able to reflect on my own year and examine these events. The twists and turns of 2014 were new, insightful, and also disorienting. This ride came to an end sooner than expected. The next few weeks will be spent buckling myself in for another ride, strengthening myself to tackle next year and make it more manageable. These reflections have led to more questions than answers. I couldn't possibly find answers for these before the end of the year, but recording them could eventually lead to some sort of understanding.
How far can one prepare for future events? It seems that every outcome differs from expectations. Planning and preparation seem to only narrow the margin of error of life’s variables. Thinking about this led me to weigh the pros and cons of things going “according to plan” versus just “winging it.” Quite frankly I think that everyone is winging something to some extent, but it just comes down how much they are willing to admit. Then again, how far can a labor intensive planning regime bring someone to the end goal of complete contentedness? Or is life about developing skills to stay on ones toes and develop expertise in “winging it” and going along for the ride? These types of questions entrance me to wonder about rewards of calculated actions or instinctual choices. Even with all this thought, I still don’t have an answer. This could be a result from lack of life experience or lack of proficiency in social infrastructures. To be honest, I tend to compromise and use the advantages from either side.
Every New Year is an entirely different ride with its own obstacles and variables. We all live dynamic lives and 2015 will not be any different. I hope to eventually look back on this year and think that it was not as crazy as it seemed or a year of great accomplishments. Being able to look back and reflect is a privilege and I appreciate that privilege. Our journeys differ infinitely and we all have a seat on this crazy coaster.

Cropping a snapshot of Fun Death by Alexander Paulus.

]]>http://www.centraltrak.net/2014/12/15/buckle-up-were-in-for-a-bumpy-ride/feed/0In-Person Experience and Post-Internet Arthttp://www.centraltrak.net/2014/12/06/in-person-experience-and-post-internet-art/
http://www.centraltrak.net/2014/12/06/in-person-experience-and-post-internet-art/#respondSat, 06 Dec 2014 22:03:43 +0000http://www.centraltrak.net/?p=3234By Liz Trosper Producing artwork in a physical display space is one of the most critical skills for a professional artist to nail down. As a painter, certain presentation variables are traditionally assumed to be given - format (2-dimensions), materials (e.g., canvas, linen, panel, paper, etc.) and hardware (D-rings, pins, frames, etc.). Within those →]]>

By Liz Trosper

Producing artwork in a physical display space is one of the most critical skills for a professional artist to nail down. As a painter, certain presentation variables are traditionally assumed to be given - format (2-dimensions), materials (e.g., canvas, linen, panel, paper, etc.) and hardware (D-rings, pins, frames, etc.). Within those assumed constraints, one may undertake any number of variations on subject matter, style, medium, etc.

The matrix of considerations is more complex for digital works. In a way, the pathway to making has become more accessible with open-source programs which easily facilitate drawing, photographic processes and algorithmic making. While making digital works has become cheaper, the means of display (e.g., high-quality projectors, flatscreens, etc.) have become more expensive, limiting the ability of students or emerging artists to truly experiment with physical display of their work.

In a recent Art in America article titled “The Perils of Post-Internet Art,” Brian Droitcour terms Post-Internet “a hazy contemporary condition and the idea of art being made in the context of digital technology.” He goes on, “The Post-Internet art object looks good in a browser just as laundry detergent looks good in a commercial. Detergent isn't as stunning at a laundromat, and neither does Post-Internet art shine in the gallery. It's boring to be around. It's not really sculpture. It doesn't activate space. It's often frontal, designed to preen for the camera's lens. It's an assemblage of some sort, and there's little excitement in the way objects are placed together, and nothing is well made except for the mass-market products in it.”

Droitcour’s statement reinforces the idea that an important part of getting an artwork right is creating an electrifying in-person viewing experience. The main critique that Droitcour has for Post-Internet art is that it is boring when experienced in person, and perhaps its better left online. I believe that he’s really just begging Post-Internet artist’s to think more about the in-person viewer experience. For example, former CentralTrak resident Shawn Mayer makes work that is meant to be experienced digitally. His installations, however, are all about in-person experience -- with people sitting in specific chairs or laying on a mattress on the gallery floor, inviting them into a new place between his personal world and the digital world.

Images of an installation on the net or in print are only surrogates for real experience as intended by the artist. Recently, artist Alison Jardine and I undertook an experimental installation at CentralTrak called Empires of Dirt. The piece combined video and installation to create a room within a room. From this experience, I realized that creating an interesting viewing experience is one of the most important, and the most imperiled, part of realizing the artwork, legitimizing Droitcour’s criticisms.

]]>http://www.centraltrak.net/2014/12/06/in-person-experience-and-post-internet-art/feed/0CentralTrak Resident, Jesse J. Griffith’s Post-Apocalyptic Reflectionhttp://www.centraltrak.net/2014/11/15/centraltrak-resident-jesse-j-griffiths-post-apocalyptic-reflection/
http://www.centraltrak.net/2014/11/15/centraltrak-resident-jesse-j-griffiths-post-apocalyptic-reflection/#respondSat, 15 Nov 2014 23:46:58 +0000http://www.centraltrak.net/?p=3214It’s quiet, too quiet… Our programming from these past few weeks was heavily condensed and extremely exhilarating. Following the “Draftsmen of the Apocalypse” opening, the next week had four total events, three of which followed back to back. This wide variety of programming and the tightly woven schedule revealed to me the versatile capabilities of →]]>

It’s quiet, too quiet…

Our programming from these past few weeks was heavily condensed and extremely exhilarating. Following the “Draftsmen of the Apocalypse” opening, the next week had four total events, three of which followed back to back. This wide variety of programming and the tightly woven schedule revealed to me the versatile capabilities of a gallery space.

During an “Apocalyptic” opening reception, the CentralTrak’s gallery acts as social hub. This of course allows like-minded individuals to mingle amongst each other, catching up with one another while sharing an appreciation for the arts and Bombay bar mixes. Following the Apocalypse, the space would transform into a scheduled community workshop to discuss individual portfolios in a semi-professional manner. Shortly after that, it would quickly morph again three times; first into a sound stage for a saxophone duo, then a discussion space on social happenings, and then finally into a highly enveloping experimental sound environment, courtesy of Flinching Eye Collective . I am always surprised to see our events taken down as quickly as they were erected, thus restoring a conventional and fully functional art gallery.

I have only been at CentralTrak for a mere 3 months now and I am enthusiastically looking forward to future programs. Although it has been insightful, it is quite nice to have a break as we head into the Thanksgiving and winter holidays. I truly appreciate the opportunity and privilege to be involved with such a diverse residence. It is not only the physical space that allows CentralTrak to be what it is, but also the people behind it play integral parts in its ever shifting identity.

]]>http://www.centraltrak.net/2014/11/15/centraltrak-resident-jesse-j-griffiths-post-apocalyptic-reflection/feed/0Living with Art by CentralTrak Resident Liz Trosperhttp://www.centraltrak.net/2014/09/20/living-with-art-by-centraltrak-resident-liz-trosper/
http://www.centraltrak.net/2014/09/20/living-with-art-by-centraltrak-resident-liz-trosper/#respondSat, 20 Sep 2014 22:11:34 +0000http://www.centraltrak.net/?p=3165Every Saturday from noon to 5 p.m. during exhibitions, CentralTrak hosts regular open hours in the exhibition space. This Saturday was not only the last week of Christopher Blay's installation exhibition, "Satellites;" it was also the DADA gallery walk. So, we had a lively afternoon. Most lively of all, we kicked off the afternoon with coffee and →]]>

Every Saturday from noon to 5 p.m. during exhibitions, CentralTrak hosts regular open hours in the exhibition space. This Saturday was not only the last week of Christopher Blay's installation exhibition, "Satellites;" it was also the DADA gallery walk. So, we had a lively afternoon.

Most lively of all, we kicked off the afternoon with coffee and a crescent of CentralTrak's signature white plastic chairs. The residents (plus my dad) gathered 'round to talk about what we we're making and share insights. As we meandered near and far from discussing the wood sculpture and 3D Google SketchUp renders that I showed, we covered topics from cinema (Invasion of the Body Snatchers, Rosemary's Baby, etc.) to death to The Flatlander's song "DC9 at Night." And it was all relevant, somehow poignant and altogether perfect inspiration to keep doing what we're doing -- swimming up stream as creators in a consumer culture.

Living with art creates amazing possibilities for these conversations, and you're always invited to join us. Also - Jesse ordered a pizza around 5 pm when the exhibition space was closing. So, sometimes living with art means that there's a pizza guy in the exhibition space.

]]>http://www.centraltrak.net/2014/09/20/living-with-art-by-centraltrak-resident-liz-trosper/feed/0CentralTrak Resident, Bradley Cruse’ Houston Art Fair Experiencehttp://www.centraltrak.net/2014/09/06/centraltrak-resident-bradley-cruse-houston-art-fair-experience/
http://www.centraltrak.net/2014/09/06/centraltrak-resident-bradley-cruse-houston-art-fair-experience/#respondSat, 06 Sep 2014 20:36:33 +0000http://www.centraltrak.net/?p=3129Yesterday I took a trip down to Houston to see the Art Fair. There was some good and some bad, but overall it was a shotgun array of art like you would expect. I had a method planned out to research the artists I was interested in. I had a handful of favorites that I →]]>

Yesterday I took a trip down to Houston to see the Art Fair. There was some good and some bad, but overall it was a shotgun array of art like you would expect. I had a method planned out to research the artists I was interested in. I had a handful of favorites that I took snapshots of, along with the title card in order to look up later. On pieces that I really enjoyed but wouldn’t consider my favorite, I would take the gallery’s card to check out the work online later. To my dismay I realized I should have taken pictures of all of the work I would have liked to see again. After looking up a few of the galleries online I found that these galleries can have lists of 70+ artists! Having this many artists in a list is already heading down a bad road, but buying a spot in an art fair, which I’m guessing runs about 10-15k, then not highlighting the artists being shown on your website is a tragedy.

Not surprisingly, some of the pieces I was drawn to most were marked as winning the Texas Contemporary Award. Fernando Pareja and Leidy Chavez’ Opresores Oprimidos, a war scene that was really interesting with its use of a strobe light. Another award winner was Andreas Nottebohm whose work is always impressive. The Catherine Clark Gallery had a lot of work based around text, including an augmented reality piece, the only of its kind in the art fair. I'm really looking forward to more technology infused pieces to creep into the fairs in the future.

The fair kept a smile on my face with works such as gold leaf bullets that were prohibited from being sold, glass tongues, comical over-sized matchbooks, and sports cards with forward imagery painted on. All in all, the show was worth seeing and I am still yet to be disappointed by a Texas Art Fair.

]]>http://www.centraltrak.net/2014/09/06/centraltrak-resident-bradley-cruse-houston-art-fair-experience/feed/0A Conversation With Christopher Blay – Aug. 2014http://www.centraltrak.net/2014/08/11/a-conversation-with-christopher-blay-aug-2014/
http://www.centraltrak.net/2014/08/11/a-conversation-with-christopher-blay-aug-2014/#commentsMon, 11 Aug 2014 17:53:10 +0000http://www.centraltrak.net/?p=3057In conversation with CentralTrak’s director, Heyd Fontenot, Blay explains his practice and his influences in his own words: Q: You spoke of watching Sci-Fi films and being having your aesthetic influenced by this genre'. Yes. There’s a certain optimism in science fiction that I connect with. Even in tales of dystopia. At some level the →]]>

In conversation with CentralTrak’s director, Heyd Fontenot, Blay explains his practice and his influences in his own words:

Q: You spoke of watching Sci-Fi films and being having your aesthetic influenced by this genre'.

Yes. There’s a certain optimism in science fiction that I connect with. Even in tales of dystopia. At some level the world is a better place, for some. My particular interest is the post war/cold war era. (Alphaville, Dr. Strangelove, and of course Star Trek, The Man Who Fell to Earth, and the list goes on). I like the problem solving that set designers attempted back then. Knobs and flashing lights!

Q: If you can speak to your cultural background - can you draw a similarity to African artists and their studio practices of using recycled materials rather than traditional art materials? Are there elements in this work that identifies the artwork as African ...or American?

African Americans are a diverse people, so our art shouldn’t look the same, nor strive to. I tend not to bang my audience over the head with my African heritage, particularly because I refuse to fetishize my biography. It is who I am, regardless, and not for entertainment. It does come out in more meaningful ways in my work, though. There’s a certain degree of inventiveness that becomes a part of who you are when you grow up in a do-it- yourself society. And I think the thing I’m drawn to the most is an artist’s ability to manipulate discarded or non-traditional materials to re-program art making. I’m at Home Depot a lot.

Q: You've described the idea of doing audio field recordings. What are your subjects and what content are you anticipating? How will these recordings be available?

Yes, an important part of the residency for me is to erode the virtual borders between nearby cities, institutions and communities. I’m still working out those details and they are evolving, but my sense is that I’ll be asking artists how their work communicates with their non-art audience, or whether they make that distinction, and conversely, asking a non-art audience how they relate to art. My plan is to complete a portable satellite to take out with me when I make these recordings between now and the end of July.

Q: Can you describe what the exhibition space will look like during your show?
The exhibition space will have sculptures made of mostly umbrellas, with reflective surfaces which function as virtual satellites. There will be at least one video station and at least one audio/listening station, and a two way, real time communication area. These satellites will vary in scale and be visible in the round, with some elements attached to wall and ceiling surfaces.

]]>http://www.centraltrak.net/2014/08/11/a-conversation-with-christopher-blay-aug-2014/feed/2Demitasse: “Blue Medicine”http://www.centraltrak.net/2014/04/21/demitasse-blue-medicine/
http://www.centraltrak.net/2014/04/21/demitasse-blue-medicine/#respondMon, 21 Apr 2014 23:55:09 +0000http://www.centraltrak.net/?p=2975 Demitasse, a two piece acoustic group, will be at CentralTrak for a one-night performance of their debut album “Blue Medicine" this Friday the 25th at 7:00! Check out some of their great music and come out Friday to hear the whole album! https://www.facebook.com/demitasseband/app_2405167945 →]]>

Demitasse, a two piece acoustic group, will be at CentralTrak for a one-night performance of their debut album “Blue Medicine" this Friday the 25th at 7:00! Check out some of their great music and come out Friday to hear the whole album!

https://www.facebook.com/demitasseband/app_2405167945

]]>http://www.centraltrak.net/2014/04/21/demitasse-blue-medicine/feed/0Tête-à-Tête: “VODOU: Jeff Gibbons presents Bruce Lee Webb & Kimberly Alexander in Conversation”http://www.centraltrak.net/2014/03/13/tete-a-tete-vodou-jeff-gibbons-presents-bruce-lee-webb-kimberly-alexander-in-conversation/
http://www.centraltrak.net/2014/03/13/tete-a-tete-vodou-jeff-gibbons-presents-bruce-lee-webb-kimberly-alexander-in-conversation/#respondThu, 13 Mar 2014 20:49:14 +0000http://www.centraltrak.net/?p=2934On Thursday, March 20th CentralTrak artist-in-residence Jeff Gibbon's will introduce a conversation between Bruce Lee Webb and Kimberly Alexander, two creatives who have a common interest in the practice of Vodou. The spiritual practice of Vodou and the art practice can both imbue objects with great power and meaning. Special guest Bruce Webb has studied →]]>

On Thursday, March 20th CentralTrak artist-in-residence Jeff Gibbon's will introduce a conversation between Bruce Lee Webb and Kimberly Alexander, two creatives who have a common interest in the practice of Vodou. The spiritual practice of Vodou and the art practice can both imbue objects with great power and meaning. Special guest Bruce Webb has studied occult practices and their relationship to fraternal orders’ ritual, performance and visual art. He has co-authored a book on the subject to be released by University of Texas Press in 2015. The conversation will be followed by a short question and answer session.

Jeff Gibbons
Jeff Gibbons is a current CentralTrak artist-in-residence and received the Dallas Museum of Art: Art Ball Prize in 2013. He has notably started artist collaborative Apophenia Underground with fellow artist Justin Ginsberg, who have received a great deal of attention for their curatorial projects in vacant spaces in Deep Ellum. Gibbons has had solo exhibitions at Oliver Francis Gallery, The McKinney Ave Contemporary, and 500x and has participated in several group exhibitions through various venues, including the Texas Biennial, the Dallas Biennial (online), El Centro College, and Conduit Gallery, Dallas, Tx.

Kimberly Alexander
A self-taught painter who holds a Master of Arts in Humanities, Philosophy, Literature and Art History from The University of Texas at Dallas. Her approach to painting is observational and narrative-based, a form of writing, and more directly linked to the lineage of Haitian art than it is to U.S. art. In January 2014 she made her third trip to Haiti, visiting Marianne Lehmann’s vast collection of Haitian Vodou objects, interacting with various Haitian painters, and observing several Vodou rituals.

Bruce Lee Webb
An artist, avid collector and art dealer who owns and operates the Webb Gallery in Waxahachie, Texas. Webb's study of occult practices in relation to fraternal ritual, performance and visual art has led him to co-author a book about fraternal order ephemera which is to be published and released by University of Texas press in Spring 2014.

]]>http://www.centraltrak.net/2014/03/13/tete-a-tete-vodou-jeff-gibbons-presents-bruce-lee-webb-kimberly-alexander-in-conversation/feed/0February “Tête-à-Tête” sessions at CentralTrakhttp://www.centraltrak.net/2014/02/18/february-tete-a-tete-sessions-at-centraltrak/
http://www.centraltrak.net/2014/02/18/february-tete-a-tete-sessions-at-centraltrak/#respondTue, 18 Feb 2014 22:20:37 +0000http://www.centraltrak.net/?p=2912“Tête-à-Tête” Jeff Gibbons & Stephen Lapthisophon Date: Thursday February 20, 7PM “Tête-à-Tête” Jeff Gibbons & Justin Ginsberg Date: Thursday February 27, 7PM In conjunction with the current exhibition Let the Drip From the Ceiling Become an 8 Foot Hole in the Roof CentralTrak will host several Tête-à-Tête interviews to be led by artist →]]>

“Tête-à-Tête”

Jeff Gibbons & Stephen Lapthisophon

Date: Thursday February 20, 7PM

“Tête-à-Tête”

Jeff Gibbons & Justin Ginsberg

Date: Thursday February 27, 7PM

In conjunction with the current exhibition Let the Drip From the Ceiling Become an 8 Foot Hole in the Roof CentralTrak will host several Tête-à-Tête interviews to be led by artist Jeff Gibbons. The first discussion will take place on Thursday February 20 featuring Stephen Lapthisophon, multimedia artist, writer, and professor at the University of Texas of Arlington. An additional interview will be held the preceding week, Thursday February 27, with Justin Ginsberg, Gibbons collaborator and co-creator of the artist collective Apophenia Underground. Ginsberg is a Visiting Assistant Professor at The University of Texas of Arlington. Each interview will be followed by a short question and answer session.

Jeff Gibbons-

Jeff Gibbons received his MFA in Intermedia at the University of Texas at Arlington. He has most recently received the Dallas Museum of Art: Art Ball Prize. His work was exhibited at the Dallas Art Fair and included in the silent auction at the DMA’s sold-out fundraiser, the Art Ball. He has notably started artist collaborative Apophenia Underground with fellow artist Justin Ginsberg, who have received a great deal of attention for their curatorial projects in vacant retail spaces in Deep Ellum. Gibbons has had solo exhibitions at Oliver Francis Gallery, The McKinney Ave. Contemporary, and 500x and has participated in several group exhibitions through various venues, including the Texas Biennial, the Dallas Biennial (online), El Centro College, and Conduit Gallery, Dallas, TX.

Stephen Lapthisophon-

Stephen Lapthisophon is a multimedia artist and writer whose work addresses questions of language, history, and cultural memory. His work has been seen at Artists Space in New York, the High Museum of Art in Atlanta, in Chicago at Gallery 312, N.A.M.E., and Randolph Street galleries, as well as exhibitions in Berlin, at Zagreus Projekt, and in Barcelona at El Escaparate. Lapthisophon is also represented in the permanent collection of the Museum of Contemporary Art in Chicago and the Dallas Museum of Art.

Lapthisophon received his MFA from the School of the Art Institute of Chicago in 1979 and went on to study comparative literature and theory at Northwestern University. He has taught at Columbia College in Chicago and the School of the Art Institute of Chicago and currently teaches art and art history at the University of Texas at Dallas and the University of Texas at Arlington. Lapthisophon has also given several guest lectures at various institutions including the Modern Art Museum of Fort Worth and the Art Institute of Chicago.

Recent solo exhibitions include “Photographs in situ and seasonal fruit” at Eastfield College in Mesquite, Texas, in 2010; “The Construction of a National Identity” at Hyde Park Art Center in Chicago, Illinois; and “Spelling Lesson” at Conduit Gallery in Dallas, Texas—both in 2011. Lapthisophon is represented at Conduit Gallery in Dallas, Texas.

Justin Ginsberg-

Justin began working for the Art and Art History Department at the University of Texas of Arlington in 2009 while pursuing his Masters in Fine Art Degree there. He continues to be a faculty member as a Visiting Assistant Professor and Head of the Glass area, while also focusing on his own creative practices and research. Justin shows his work nationally at galleries, including recent solo exhibitions at the PEEL Gallery in Houston TX in 2012 and Ro2 Art: Downtown Project Space in Dallas, TX in 2013. He has also been included in Museum exhibitions, through the Wichita Falls Museum of Art, and The Corning Museum of Glass in New York. Most recently Justin’s work was accepted for the third time into New Glass Review an international annual publication produced by the Corning Museum of Glass of the top hundred artworks, that incorporate glass. His work is also included in publications such as Architectural Digest, Modern Luxury, and ArtLies.

Most recently, Justin is co-curating a series of exhibitions in Dallas, titled Deep Ellum Windows, a collaborative project with Jeff Gibbons, under the name Apophenia Underground. Justin will also be traveling to Berlin in the summer of 2014 for an artist in residence fellowship, concluding with a solo exhibition, and he has been invited to present his work at the EHSM conference in Hamburg Germany.